The Godfather as a movie has been inspiring filmmakers across the globe even today. In India there have been many variations of Godfather which have been made right from Feroz Khan’s stylish Dharmatma, to Mani Ratnam’s gritty Nayagan, to Ram Gopal Varma’s Sarkar.Continue reading “Bheeshma Parvam (2022) Malayalam Movie Review: When The Mahabharata Meets Godfather”
Amazon Prime Video recently announced the release of superstar Prithviraj Sukumaran’s Bhramam on the platform. Directed by Ravi K Chandran, the film will drop exclusively on Amazon Prime Video on October 7. Ahead of the launch of the much-anticipated title, the streaming platform today released a lyrical musical video titled Munthiripoovo.
The video of this peppy and soulful track, starring Prithviraj and Raashi Khanna, has been composed and arranged by Jakes Bejoy, who has also lent his voice to the song along with Midhun Suresh. Beautiful lyrics by B K Harinarayanan make the experience of listening to the number all the more special. The track gives the viewers a glimpse into the musically thrilling adventures that the movie promises.
For the uninitiated, Bhramam, also featuring the likes of Unni Mukundan, Sudheer Karamana, Mamtha Mohandas and Raashi in key roles, dwells on the life of a pianist, who pretends to be blind. Prithviraj essays the role of the pianist, whose musical journey gets interlaced with suspense, inspiration, confusion and drama as he gets embroiled in a murder mystery. As the plot thickens and a set of bizarre events unfold, wit and survival create the fabric of the film coupled with the stellar background score composed by Jakes.
Watch the video of Munthiripoovo here:
Nayattu is a tale of the hunters being hunted. We have 3 cops, a by-election and hit-and-run case, and the death of a Dalit, this makes for an interesting concoction for Martin Prakkat’s new film.
The latest Malayalam thriller to stream on our home screens is Anjaam Pathiraa (the fifth midnight). Kochi the metro city of Kerala is shocked by a cold blooded murder of a cop. An investigation team is formed, with Anwar (Kunchacko Boban) who is a psychologist helping the team. Soon the cops realise that they are looking at a serial killer who is out to murder the cops.Continue reading “Anjaam Pathiraa (2020) Malayalam Movie Review: The Hunter and the Hunted”
If 2018 was a grim year for Kerala (with Sabarimala and floods dominating the mental and emotional space of people), 2019 has been quite a distressing year for the nation as a whole with the fervid protests rocking the public space across. At a time like this when the nation is going through a rather tumultuous churning phase, it is kind of awkward to pause the political scene and take a peep into the musical world of entertainment that has enthralled our spirits this year. But life must go on – governments will come and governments will go but the strains of music shall continue to touch our souls as all great art does….Continue reading “Top 50 Malayalam Film Songs of 2019: A Compilation”
An unfinished house. That is the image we get as the movie begins and that image is enough to put across to the viewers the stories of the pain and struggle of the people within.
In this case it is the house of the late Napolean’s four sons, situated in a small village in Ernakulam. We are first introduced to the youngest of the lot, Frankie (Mathew Thomas) who makes it clear about how ashamed he feels about his house that he has to lie in order to keep his classmates from visiting his place. In his words, ‘the worst house of the entire Panchayat!’
The oldest of this rather dysfunctional household is Saji (Soubin Shahir) who is content freewheeling on the hard earned money of a Tamilian he once had helped. Then you have the mute one, Bonny (Srinath Bhasi), who stays away from the squabbles of the house and would rather spend the time with his close bunch of friends. And the last of the lot is Bobby, played by Shane Nigam, who is a total loafer who cannot put the effort into anything. He runs away from anything that is described as a ‘job’. Even when asked if he is into drugs, his reply is ‘those things make you think. We cannot do all hat. We are free-birds’.
Simultaneously, we also get a peek into yet another household- that of Baby (Anna Ben) who works as a tourist guide at one of the nearby resorts. Her sister (Grace) has just married and we are introduced to her husband- Shammi (a brilliant Fahadh Fasil) who in his introductory shot itself looks to the mirror, setting his bold black moustache and announcing to himself, ‘Raymond- the complete man!’.
Though we do not get to know much of his past, we can sense the misogynistic and conservative upbringing of his. Even before he is introduced, there is his brother who gets visibly offended on being offered a lift on a bike, rode by a woman. With his father in law having passed away, Shammi believes he has a firm role to play as the ‘man of the house’. Truth be told, he believes he is the rightful hero of his tale. ‘Shammi, hero aada, hero’ utters Fahadh in one of the best lines from the film.
And in most cases, he would have been. But this time, Shammi is not the hero.
For the heroes of the stories are the women that walk into the lives of these men. They find a good human being even in the most laggard of these men. They see the beauty even in the most incomplete and unkempt of places. They bring hope to even those who seemingly have lost all of it. They also bring forth courage at situations where it really is called for. They turn out to be the true knights of this Kumbalangi village.
Hats off once again to Shyam Pushkaran. The writer has been giving us gems after another and here is yet another spectacular example of what magic even simplistic of writings can create on celluloid. Placing realistic characters in equally relatable settings, dipped with the local milieu turns to a feast for the viewers. And they are not the perfectly white and black characters that we used to. The characters are as flawed as you and me.
Even the villain of this enterprise, Shammi is not entirely wrong. He has a point when he questions the qualifications that the wayward Bobby possess to marry his sister in law. He is on point when he states that the chap cannot even afford to pay for his own shave at the barbershop. In another movie, he very well might have been the hero. Here we are asked to laugh at the moustache twirling man, rooted in misogyny and patriarchal conservatism.
Director Madhu C Narayanan could not have asked for a better debut. Every scene and every character come alive, even the short scene that the sons share with the mother. Joining hand in hand with the writer and the cinematographer Shyju Khalid, they bring such warmth and feel good factor to the proceedings. Commendable is how none of this ever seem forced into the narrative but flows in with a natural ease.
Speaking of flowing in, the same can be said about the songs in the movie. Sushin Shyam’s music blends in well with the setting and never feels out of place. Even when an English track forms part of the it. The theme music is something that will stick to you head much after the movie.
And the performances. How captivating are they? Shane Nigam is turning into a remarkable lead man who certainly have the charms and the acting chops. Sreenath Bhasi plays with limitations but makes his presence felt. Debutant Anna Ben was dazzling from the word go and looked exceptionally confident and impressive for a newcomer. Other performers like Mathew, Jasmine Metevier and Grace Antony also makes their presence felt. Even the actors who play Bobby and Baby’s friends make a lasting impression. Dileesh Pothan , also one of the producers of the movie, chips in a cameo appearance.
Fahadh Fasil has repeatedly been challenging himself and he seem to not surprise himself and the audience with his choice of roles and how he aces them. This time, as a villain, he absolutely steals the frames whenever he appears with his eccentric mannerisms, and at times, even with merely his looks. One runs out of adjectives with each passing performance of his.
And last but not the least, Soubin Shahir. From a comedian, he made leaps as a lead man in last year’s runaway success story Sudani From Nigeria. But with this one, he has shown us what a amazing actor he is. He owned the role of Saji completely. Be it when he laughs in joy on Bobby calling him ‘chetta (Brother), or when in his drunk scene with Ramesh Thilak and eventual reaction to the bitter truth, or the scene where he breaks down in front of the doctor. Such a damn fine performance capturing all the complexities of the character.
This year is merely a month and a few days old, and we already have a gem of a film that would feature in the year end top lists (…that is if not the best). Rarely do we have movies approached with such simplicity, sincerity and comes out with such beautiful results. But films from Kerala are managing to hit that sweet spot with ease and finesse. The Napolean brothers will find a place a heart in all moviegoers. And so will Fahadh’s Shammi , one that will be etched in our memories for years to come.
So think no further, do check out this house in the wastelands of Kumbalangi. One where exists no boundaries of caste, color, religion or nation. It shows that even the most incomplete of homes can feel complete when it is drenched in love, acceptance and brotherhood. An absolute must-watch!
KUMBALANGA NIGHTS (Malayalam, 2019)
cast: Soubin Shahir, Shane Nigam, Sreenath Bhasi, Anna Ben, Mathew Thomas, Grace Antony and Fahadh Faasil
Directed by Madhu C Narayanan
Written by Shyam Pushkaran
Produced by Fahadh Fasil and Friends/ Working Class Hero
This is the time of the year when people like me are busy trying to hurry up with their year-end list compilations before heading out to celebrate the entry of the New Year. Usually I do try to go in for an in depth analysis of Indian Cinema, looking at the major happenings of the year in nearly all the dominant film industries, both Hindi and regional. But of late I’ve been caught up with all sorts of stuff; as a result I ended up being unable to come up with my mandatory year end posts for 2017, the one on Indian Cinema and the other one on Malayalam Cinema specifically. Hence I’ve decided that it’s time to play it wisely and focus mainly on the lists in particular and not the detailed anlysis. Why miss out on doing something that I am fond of altogether?Continue reading “The Best of Indian Cinema in 2018: A Perspective”
2018 was a year that a lot of folks in Kerala would want to forget. First you had one of the greatest floods of the century causing immense damage, quickly followed by the all-encompassing Sabarimala issue which kept all its denizens busy for most of the season. Maybe it is a reflection of the mood of the state for most of the year that this period did not provide too many cinematic works in the mainstream space that made an impact. Yes, there were exceptions like Ee Ma You, Sudani from Nigeria, Eeda and Poomaram but otherwise there was very little to write home about, despite a fantastic 2017. With mega biggies like Odiyan and Kayamkulam Kochunni creating more hype about the business done rather than artistic merit and falling short of pleasing either the audience or critics, we probably need Dileesh Pothan to make a film every year!Continue reading “Top 40 Malayalam Film Songs of 2018: A Compilation”